Essay by Barbara J. Melaas-Swanson, Former Assistant Professor of Religion

Created by an unknown artist, Augustana's Russian icon dates from the late seventeenth century. Possibly a part of a larger series of scenes depicting the life of Jesus, the four panels were attached to canvas, reset on a wooden backing and reframed. Note how the restorer painted cracks on the frame to approximate the original. The bright red border is typical of icons from Russia (Popovich 1).

In terms of content, the first panel depicts the Annunciation in which Angel Gabriel conveys to Mary that she will become the Mother of God. Note that Mary holds a red thread as she spins yarn for the Temple curtain which is torn upon Jesus' death (Popovich 2). The second panel tells the story of the Transfiguration. Jesus ascends a mountain to pray, accompanied by three disciples. The little party is visited by Moses and Elijah, and Jesus is transfigured into his heavenly splendor, thus revealing both his divine and human natures. In the third panel, Jesus enters Jerusalem though one must look hard for the "hosanna-shouting" crowds, so prominent in the Biblical accounts, possibly symbolized by the group of boys situated by the tree at the top of the picture (Popovich 4). To the right, the men of Jerusalem meet Jesus and his entourage. Jesus' washing of the feet of the disciples forms the subject of the fourth panel. Though the expected basin of water is missing, Jesus holds a towel and appears to be drying Peter's feet. Through this act, Jesus models the ideal of servanthood which forms the basis of the disciples' continued ministry in the world.

Icons play an integral part in the practice of faith amongst Eastern Orthodox Christians. Whether painted by a monk or a secular artist, the creation of Augustana's icon would have been approached as a devotional act resulting in a holy object believed to be imbued with divine purpose. The artist would have prepared for his task through prayer, fasting and acts of penance. Strict rules govern the creation of icons including use of materials, symbols, colors and the employment of models for drawing Biblical figures, along with their attributes, so that characters and scenes are easily recognized by those familiar with the stories. The flatness of the composition suggests an otherworldly dimension as do the golden haloes (nimbi) surrounding the heads of the figures. Icons are never signed, suggesting that credit is due not to the artist's merit but to divine inspiration and gift.

Given its sacred nature, it is perhaps good to acknowledge the intended home for the icon is not an art museum but the setting for worship. The size of Augustana's icon suggests its probable original placement in the "beautiful corner" of the patron's home, a monastic cell or a chapel (Popovich 6). In these places, the icon best fulfills its purposes to tell the stories of the faith, to instruct in its teachings, to inspire to prayer and to be a "window to heaven" through which the faithful on earth are cheered on and encouraged by the "cloud of witnesses" (Hebrews 12:1) who inhabit God's heavenly realm.